Deadpool’s third adventure is a fun and funny romp through the multiverse with a surprising amount of heart as well, and a clear sweet spot for the very things it's poking fun at.

Refreshingly free of heavy-handed nostalgia bait, this standalone sequel to the 90s classic is the perfect summer blockbuster.

Has the rare ability to linger in your mind thanks to its chilling direction and performances.

it’s the messiest of the three films, tripping over itself a bit tonally, but still delivers a bloody and satisfying ending for fans of this particular sinful tale.

Michael Sarnoski makes the jump from indies to blockbusters with Day One, but brings his character-focused sensibilities to the apocalyptic spectacle that’s been promised. It’s the best of the franchise by far.

Inside Out 2 is certainly effective and entertaining in its own right, though it just shows how far Pixar still has to go if they really want to complete the challenge of surpassing rather than just rehashing themselves in the years to come.

There are a few fun ideas throughout In a Violent Nature, yet few of them seem to quite gel with one another. A fresh and engaging take on a worn-out premise runs thin by the end, while the rest is a tonally confused mixture of the slasher genre’s worst tendencies.

Late Night with the Devil conjures up memorable frights and characters within its brisk 93 minute runtime, solidifying Dastmalchian as a star and establishing the Cairnes’ as a directing duo worth keeping an eye on. Despite its flaws, it’s a solidly entertaining and original horror film that’s sure to amass its own devoted fanbase with time.

The American Society of Magical Negroes is a mixed bag of engaging ideas about Blackness in the United States, and while it can’t quite reconcile its juxtaposing approach, it still deserves credit for the daring ways it attempts to push the conversation.

Filmmaker Sean Wang genuinely captures heartfelt sentimentality, laugh-out-loud teen antics, and painful truths in Dìdi.

The best part of Freaky Tales is the fact that it just keeps getting better and better as it goes on. 

The director’s first Hollywood film in twenty years makes it clear that he hasn’t lost his touch, but a stronger (or at least more interesting) foundation to launch his signature style on might have made for a more satisfying comeback.

Disney’s Wish plays all the hits and ends up showcasing both the best and worst of what the studio’s storytelling is all about.

David Fincher brings his usual style to a smart and surprisingly funny tale of a professional hitman dealing with a job gone wrong.

There are certain moments from the original The Conjuring that have stuck with me for a decade and counting. I’d be surprised if I remember anything from The Nun II within the next couple of weeks.

You get the best of both worlds with Denzel Washington’s supposed final performance as this character, and for those that have enjoyed McCall’s violently cathartic journey, The Equalizer 3 is here to please.

There’s a brief novelty to the bloody spectacle that Øvredal’s latest provides and an admirably morbid approach to the entire affair, but this supposed final voyage feels considerably thin by its end.

Flies by with thrilling energy, plenty of nightmare fuel, and inventive ways that make the very tired possession subgenre come alive again.

It’s a film suffering from an identity crisis, ditching the whimsical tone of the more family-friendly Bumblebee (a great movie, for the record) in favor of something that just ends up coming across as Michael Bay with the edges sanded off. 

This sequel to the surprise 2018 animated hit does more than simply surpass the original, it tells a nearly perfect Spider-Man story.